Eu Vi o Brilho da TV

It features many dynamite indie rockers (both in cameos and musically), it started off great with interesting characters and EXCELLENT aesthetics - as a millennial, I felt a lot of nostalgia for similar shows I used to watch growing up. Ultimately though, the story fell apart and offered little substance.

The film has an interesting and societally relevant theme, but I think that's where this falls flat - a great film may elicit the response:

"That was a great story - what were its most prominent themes?"

But instead I found myself asking:

"That was an interesting theme - what were its most prominent plot lines?"

I can understand if this movie is divisive because it doesn't meet the audience halfway. You have to stick with it and figure it out.

The ostensible story is, two alienated teenagers who find a tenuous connection to each other via a cultish series called The Pink Opaque, which is a bit like Buffy the Vampire Slayer made by David Lynch.

By the end, the theme emerges: how people suffocate their own lives by ignoring or cutting out their own hearts.

The story could have been told just by depicting Owen's sad, stunted life. The fantastical elements are there to make the theme more obvious, not to mention far more entertaining.

This isn't a horror movie, unless you see the horror of a sad, wasted life. The segment where Owen re-watches The Pink Opaque on "streaming" is particularly chilling in its implications.

I was thoroughly looking forward to this film but alas. The style, the cinematography and the subject matter are all well-executed and important. However, there is little to no nuisance. Any subtlety is not subtle and any message is overpowered by sub-par acting and loud, screeching, pretension.

Mysterious Skin (2006) is a film that's similar but done exceptionally better. While the subject matter is far from metaphoric, it's execution is brilliant. I Saw The TV Glow seems like a proof of concept with a powerful core message that had the glaring plot gaps filled with flashing visuals and nostalgia-bait.

This should've been a Tisch short.

A deeply sad, heartfelt, surrealist film that is very likely to be the most unique American film released in 2024, and even more likely to be misunderstood by at least 75% of its viewers. On the surface, it's one of the most locked-in mid-90's nostalgia pieces I've ingested, but beneath that it's one of the most complex coming-of-age films I can think of.

To me, the movie was an expression of the kids who grew up in dysfunctional families in the 90's (the TV generation), those who were drawn to dark media due to that (which was extremely prevalent in the late 80's up through the mid 90's), and in turn, those who ended up with a far deeper connection with those dark fantasy worlds than they had with most other humans, and reality as a whole. When it's time to grow up, things get rough...I can relate, because I was 100% one of those kids during that exact era, so this one hit a lot of buttons that made a lot of sense for me.

There are some impressively unique horror/monster effects in this film, that are equal parts comical and terrifying, simultaneously, which feels like yet another element that is heavily loyal to the era it is inspired by. This, along with many other elements, allow this movie to differentiate itself pretty boldly from everything else coming out right now. Common horror fans will likely just be confused by this film, which tends to be the case with most psychological horror films that actually offer anything with emotional purpose, but it offers plenty of cerebral scares and lots of melancholic gloom.

Leads Brigette Lundy-Paine and Justice Smith do an immense job of keeping things deathly serious and dreamlike, Smith almost feeling like he fittingly "can't handle being human" a lot of the time. There are several sequences where their performances bring the movie to a full Lynchian realm - of course this is also due to visionary director Jane Schoenbrun's skilled directing. Speaking of that, I just realized that the segment that feels most like a nod to Lynch in a multitude of ways is the one that features bands performing live at a strange club, much like the Road House in the last season of Twin Peaks. Kris Esfandiari of King Woman makes an especially strong appearance here. It certainly doesn't hurt that they put together a very tasteful soundtrack that feels very reminiscent of the classic movie soundtracks of the 90's. It's fitting that the movie and soundtrack begin with a Broken Social Scene cover, because the whole album kind of feels like a full Broken Social Scene album, with similar dynamics and vibes throughout.

While it's truly hard to compare this to anything, it feels HIGHLY inspired by ARE YOU AFRAID OF THE DARK?, the Canadian kids horror program broadcast in the 90's on Nickelodeon, more than anything, while it's themes remind me only of a couple other movies, Pixar's INSIDE OUT, and the very wild SYNECDOCHE, NEW YORK. While I cried my eyes out at that Pixar movie, this one is too committed to its surrealism and gloom to induce actual tears, but the overall melancholy remains very heavy and very real throughout.

This is a movie about the weirdos who found solace in media for weirdos. Brilliantly, the movie itself is weird (and sincere) enough to be that exact sort of weird type of media that the new young weirdos may find the same kind of solace in when they watch this as a teenager in reality now. I think that might be the whole point. If it wasn't, then it's awfully masterful accident. That's 2 strikingly unique and effective psychological horror films by Jane Schoenbrun now, 2 for 2...I officially deem thee a visionary force to be reckoned with.

I am a straight white man, and I liked this movie. I watched it this evening. After letting it sink in and after dwelling on it, I came here. I skimmed the user reviews. First of all, if you didn't finish watching the movie, then you shouldn't review it.

A lot of people who didn't like it criticized the acting. To me the acting felt like awkward teenagers being awkward teenagers.

A lot of the people who did like it saw it as a queer/trans allegory. Rock on, good for them.

I saw it as a reminder of the awkwardness of being a teenager, trying to make new friends. The obsession with a TV show reminded me how sometimes a TV show can become your identity and can sometimes help you survive said teenage awkwardness. (For me it was The X-Files.) Go in with an open mind and let its atmosphere draw you in.